THE TOURING BUSINESS HANDBOOK 2025
IN ASSOCIATION WITH
WELCOME
TO THE SECOND EDITION OF THE TOURING BUSINESS HANDBOOK
As international touring continues to rebound and expand in complexity, so too do the challenges facing artists, managers, promoters, and the many professionals who work behind the scenes to make live events possible. The Touring Business Handbook, which is presented this year in association with Chorus TM is designed to be a vital resource, offering practical guidance and expert insight on key topics such as insurance, taxation, visas, performance rights, currency exchange, and more.
We were inspired to launch this publication last year in response to a clear need for a single, comprehensive source of information that could help industry professionals navigate the intricacies of touring across multiple markets. The incredible response we’ve had confirmed we were on the right path, and for this second edition, we’ve worked closely with specialists across various sectors to refine and expand the content to reflect the latest industry developments.
This year’s edition dives deeper into crucial issues, from the increasing role of digital payments and taxation shifts to the impact of global political and economic trends on touring logistics. We also explore the future of artist mental health support, risk management strategies, and the evolving dynamics of international ticketing and fan engagement.
A huge thank you to all the contributors who have generously shared their expertise and to our readers who provide invaluable feedback. As the Touring Business Handbook grows every year, we would love your suggestions for future editions. What challenges are you facing? What information would help you plan better and tour smarter? Let us know.
We hope the Touring Business Handbook serves as a trusted companion for the road ahead.
Francine Gorman & Eamonn Forde Editors, Touring Business Handbook
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LIVE MUSIC INSURANCE
WHY YOU NEED INSURANCE
Tim Thornhill from Tysers Live explains why insurance is essential on any tour. An unfortunate incident or something going wrong on tour can result in major disruptions and unforeseen financial losses. Without the security of cancellation and non-appearance insurance, any tour is at serious risk if things don’t go to plan. By helping to ensure that the right insurance policies are in place, our clients are protected in case the unexpected happens – from a minor hiccup to a major issue.
Essential covers, such as non-appearance and public liability, are crucial; without them, venues may refuse to book performers, and certain policies (such as employers' liability vital to have the appropriate cover before a tour. Insurance can be invaluable if things don’t go to plan, providing financial protection and support to get the tour back on track.
5 TOP TIPS TO STAY PROTECTED
1 WEATHER
Unforeseen events like extreme weather and natural disasters can disrupt schedules and lead to cancelled performances. This is not just a concern for venues but could also impact the departure airport of an artist. A cancellation policy can offer financial protection to cover the loss of touring revenue if performances can’t take place. This can include coverage for accidents, illness or death of key persons, adverse weather, venue damage, unavoidable travel delays, and national mourning.
2 COVER YOUR CREW
Freelancers working as part of a touring crew also need cover for accidents, illness, and other liabilities. Employers’ liability (EL) insurance is required by law in some countries if one or more people work for a tour, including part-time, temporary, or freelance workers. EL insurance covers compensation costs if an employee is injured or becomes ill due to work being carried out, and it can also offset some legal fees.
3 PROTECT YOUR INSTRUMENTS & EQUIPMENT
Without essential equipment, the show cannot go on. Ensure that equipment is always stored securely (never overnight in vehicles) and have an instrument and equipment policy in place. Many instrument policies offer new-for-old replacement of equipment (depending on age and condition), allowing performers to source replacements quickly and continue touring with minimal disruption. Enhanced cover for vintage or unique collectible instruments can also be arranged.
4 TRAVEL SMART
Follow safety guidelines and advice while traveling overseas, including local weather warnings. Ensure you have travel insurance that includes medical cover and repatriation. If you are touring in North America or an area where the cost of medical care is high, consider carefully how much cover is needed if you become ill or have a serious accident requiring an extended hospital stay. Guidance from an experienced insurance broker can be invaluable and provide peace of mind knowing that the right protection is in place.
5
GO GLOBAL (WITH YOUR COVER)
If you are travelling in the EU/EEA area or internationally, ensure your policy covers these areas. Check your policy before travelling, as many travel policies have exclusions for certain high-risk territories due to war, terrorism, natural disasters, and other perils. It's also important to check that all policies are valid in the countries being visited, including equipment and public liability insurance.
Public liability insurance is essential for all touring musicians, performers, crew, and freelancers. Wherever people gather to enjoy live music, there are always potential risks to safety and property. If an accident occurs during a performance, injuring a member of the public, you may be held liable. Public liability insurance covers compensation and legal fees if a third party claims for injury or property damage. Even if a policy is in place, it's crucial to check that the policy covers all territories where performances are scheduled. For example, if touring in North America, liability insurance must cover specifically North America, as claims awarded and legal fees are typically higher than in other parts of the world.
WHY CHOOSE TYSERS LIVE?
Tysers Live is one of the market-leading insurance brokers for the live entertainment and events industry. We arrange cover for some of the biggest worldwide events
and insure some of the most prestigious international artists. With a wealth of experience in the world of live entertainment and events, we truly understand the nature of the risks you face. Our team of experienced brokers can advise on the most suitable cover for your needs, helping to ensure that you have the right protection in place and providing unique and innovative solutions.
Our clients range from newly formed bands to established global artists, festivals, event organisers, promoters, venues, and infrastructure companies. We cover a range of events from national tours and local festivals to worldwide tours and international performances.
Tim Thornhill has over 20 years’ experience across the events and insurance sectors. He joined Tysers in January 2018, having worked as MD to a tour operator and event management company. As MD for Tysers Live, Tim leads strategy and development. He works across all sectors of the live events and ents industries and has a global focus, working primarily with clients in the UK, Europe, and the Middle East.
musicandevents@tysers.com +44 (0)20 3915 0385 tysers.com/tyserslive
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HERE
INSURING FOR POLITICAL, SOCIAL & ECONOMIC UNREST
Cancellation insurance for tours has traditionally covered eventualities such as illness and adverse weather conditions. However, recent political and social shifts mean political unrest and public protest are becoming an increasing issue across many more territories and can have enormous implications for tours. Matt Meredith , founder and CEO of LMP Group, outlines what you need to know and how your insurance policies need to change.
The world is becoming an increasingly unsettled place, and that makes for a particular set of challenges for the live events sector. We all know that the show must go on
but some of the factors that now present a threat to that are becoming wider and more challenging.
Rising tensions in society continue to evidence themselves in almost every corner of the globe but are very much on the doorsteps of European cities now. Whether political, social, or economic, they have brought about physical manifestations in the form of marches, labour strikes and, in some cases, riots, civil disobedience, or worse still, terrorism. These factors have a wide-ranging impact, and it is important to consider how the events industry can respond to this.
Unrest in countries like the UK, Germany, and France, for example, has become more pronounced, raising alarms for those planning large gatherings. In recent years, we have had: the storming of the Capitol Building in Washington DC in the US; the gilets jaunes [yellow jacket] protests and riots in France (as well as protests over pensions and by farmers); far-right riots in the UK last summer; as well as inheritance tax protests by farmers and environmental protests by groups such as Extinction Rebellion and Just Stop Oil in many countries.
Ultimately, protests disrupt events, hinder attendance, and create safety hazards.
Such situations not only threaten the safety of attendees but can also result in significant financial losses for event organisers if they need to cancel or relocate their events. Transport strikes are commonplace, but the new reality is far wider reaching, and the economic ramifications extend beyond immediate losses, impacting vendor contracts, sponsorships, and future planning.
WHAT INSURANCE CAN DO TO HELP
Traditional insurance products, designed to mitigate cancellation and abandonment risks, may not be sufficiently broad to avert the impact of these more
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PASS THE PARTIAL: WHAT HAPPENS WHEN AN EVENT IS
PARTLY CLOSED
Paul Twomey and Will Doyle of Specialist Risk Group reveal what happens when part of an event or a festival has to be shut down, how insurance policies are affected, and why the refunding process is becoming increasingly more convoluted.
Partial losses occur when adverse weather conditions impact only certain portions of an event, such as one day of a multi-day festival or specific attractions, rather than leading to a complete shutdown.
These scenarios are common in outdoor festivals, where localised rain, high winds, or extreme heat can dampen ticket sales, delay performances, or even render certain areas unsafe for use.
This could include the following:
■ Reduced attendance: sudden rainstorms might deter walk-up attendees, even if the event continues as planned.
■ Damaged equipment: wind or hail may damage stages, tents, or lighting rigs, reducing the quality of the experience or leading to delayed schedules.
■ Disrupted programming: weather may force cancellations of specific performances or activities while allowing other parts of the event to proceed.
While such disruptions may seem manageable, they often translate to substantial financial losses for the organisers. Ticket refunds, vendor disputes, and additional logistics expenses can mount up quickly.
THE GAP IN STANDARD EVENT INSURANCE
Traditional event cancellation insurance typically kicks in when an event cannot proceed in its entirety. However, many policies fall short in addressing partial losses. This creates a significant coverage gap, leaving organisers to shoulder the financial burden of weather-related disruptions that do not qualify as full cancellations.
Organisers need to understand the scope of their coverage and explore additional options to fill this gap. Insurance for partial losses – often referred to as “adverse weather insurance” or “weather interruption coverage” – can address this need.
HOW ADVERSE WEATHER INSURANCE WORKS
Adverse weather insurance is designed to cover financial losses stemming from weather conditions that impede or disrupt an event, even if the event is not fully cancelled. Policies are typically customised to account for the specific risks associated with a particular location, time of year, and event setup.
Key elements of such policies include the following:
■ Triggering conditions: coverage is often tied to measurable weather conditions, such as a specific amount of rainfall, wind speed, or temperature thresholds. For example, coverage might activate if more than half an inch of rainfalls during the event hours.
■ Scope of coverage: these policies can cover lost ticket sales, damage to infrastructure, and additional expenses incurred to continue operations or manage delays.
■ Flexibility: organisers can tailor policies to cover highrisk aspects of the event, such as the main stage area or key revenue-generating attractions.
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TOUR ACCOUNTANCY
ROADS PAVED WITH GOLD? MANAGING DIGITAL PAYMENTS ON TOUR
Ticket sales and guarantees are just part of the touring economy for musicians, with merchandise sales adding a huge bonus for superstars and being the difference between make or break for smaller acts. The team at Cast & Crew Live Entertainment explain how digital payments can play a key role in every part of a touring show.
In today’s live entertainment world, digital payments and effective money management are crucial for the success of global music tours. Whether it’s handling ticket sales, merchandise, or artist payouts, digital systems simplify processes, improve transparency, and boost efficiency.
As live events grow in scale and complexity, understanding how digital finance is transforming the touring industry is more important than ever. Here we explore how these digital tools are reshaping financial operations and creating new opportunities in the live music world.
THE ADVANTAGES OF DIGITAL PAYMENTS OVER CASH DURING A MUSIC TOUR
Digital payments offer clear advantages over cash during a tour, especially for managing finances. They make it easier to track expenses, such as fuel, bus rentals, merchandise splits, and per diems.
Digital transactions also reduce the risks of cash handling, such as loss or theft, and improve record keeping, which helps with budgeting and financial reporting.
While experienced tour managers who handle cash effectively remain valuable, reducing a reliance on physical money can lead to better financial organisation on the road. (That said, some crew members still prefer cash for per diems due to the convenience of the tour lifestyle, balancing practicality with digital systems.)
COMMON PAYMENT ISSUES ON TOUR AND HOW CAN THEY BE RESOLVED
Payment issues on tour can range from theft to technical problems. If money goes missing, it’s essential to figure out who is responsible – understanding if the tour manager had control over the funds or if the theft happened before it was transferred.
Technical issues, such as Wi-Fi outages that disrupt digital payments, can be handled by switching to cash or using backup payment methods like Zelle, PayPal, Venmo, or Cash App. Effective problem-solving and clear communication between the tour team and venue management are crucial to resolving these issues. Being adaptable and prepared ensures payments are processed smoothly despite the obstacles.
THE PROCESS OF ADVANCING A TOURING SHOW
Advancing a touring show involves thorough planning and clear communication between the tour team and the venue. The process typically begins nine to ten months before the show, when the tour manager and venue agree on logistics, technical needs, and any additional fees, such as for merchandise or cleanup.
Aligning expectations upfront – ensuring the venue understands what the artist will bring, such as a personal mixing console, and confirming the venue’s offerings –prevents unwelcome surprises.
This early communication, often done through email, ensures that both sides are prepared, leading to a smooth performance for both the artist and the venue.
HOW VENUES CAN TRANSPARENTLY TRACK THEIR SHARE OF MERCHANDISE SALES WITH DIGITAL PAYMENTS
Clear communication and documentation during the booking process is fundamental here. Merchandise cuts should be clearly defined and written into the contract between the touring act’s agent and the venue. Before the show, the tour manager and venue representative should confirm all fees, including merchandise cuts and any additional charges. This ensures transparency and allows both parties to reconcile sales accurately using digital payment records.
INSIGHTS INTO THE SCALE & STRUCTURE OF TOURING FINANCES
Managing digital payments on the road can be challenging due to the many moving parts involved. Venues earn revenue not only from ticket sales but also from food, drinks, merchandise, and sometimes co-promotion agreements with promoters.
Daily touring costs for high-profile artists can be high, covering expenses such as crew, equipment, and other logistics. The money generated from shows is usually split between promoters and artists, with some artists securing a flat fee to ensure they earn a certain amount, regardless of how the event performs.
As tours grow, especially internationally, logistics become more complicated. From coordinating travel and equipment to handling setbacks like bus breakdowns, the tour manager’s role is to keep things running smoothly.
Digital payment systems help streamline these transactions, making it easier to track revenue and ensure everyone gets paid accurately and on time.
THE ROLE OF DATA ANALYTICS IN OPTIMISING TOUR MANAGEMENT & FINANCIAL DECISIONS
As digital tools become increasingly integrated into the touring process, data analytics play a crucial role in optimising decisions. The data generated – from ticket sales and merchandise revenue to crew expenses and travel logistics – can help managers make more informed financial choices.
By analysing past performance, tour managers can adjust pricing, fine-tune travel routes to save costs, and increase merchandise sales. Additionally, data
can improve audience engagement, helping artists and promoters make better decisions regarding pricing, marketing, and scheduling.
With real-time tracking, all aspects of the tour –from finances to fan experience – can be optimised for efficiency and profitability.
EASING ON DOWN THE ROAD
Adopting digital payment systems not only simplifies financial operations in the live music industry but also fosters greater transparency, fairness, and efficiency.
These tools help manage the complexities of international tours, ensuring that artists, venues, and promoters are paid accurately and on time. Moreover, the valuable insights provided by digital payment systems support smarter financial and logistical decisions.
As the industry evolves, integrating digital payments is key to creating a more sustainable, streamlined, and innovative future for live music, allowing everyone involved to focus on what truly matters: delivering unforgettable performances and experiences to fans around the world.
Cast & Crew Live Entertainment is part of a larger Cast & Crew family, a leading provider of payroll, HR, and production management solutions for the entertainment industry. Cast & Crew Live Entertainment is the leading provider of employer-ofrecord payroll services for tours, live entertainment, theatre, venues, festivals, music videos, and other short-form content. Its offerings include comprehensive workers’ compensation services; multi-state tax filing and compliance; unemployment claims management; year-end W-2 services; and digital onboarding and timecard solutions.
liveentertainment@castandcrew.com castandcrew.com
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TAX NEWS
SUPPORT FOR GRASSROOTS VENUES
One of the biggest live music stories of 2024 in the UK is not about taxation in hard accountancy terms per se, but it is a form of cultural taxation. After several years of lobbying from the Music Venue Trust (MVT) for larger venues to economically support grassroots music venues in the UK, a breakthrough arrived in November where the UK government publicly supported a move for £1 from each ticket sale for arena and stadium shows to be paid to a central fund.
In 2023, Enter Shikari got things moving when they announced they would donate £1 from every ticket sold for their 2024 UK arena tour to the Pipeline Investment Fund set up by MVT. Then, in September 2024, Coldplay committed to donating 10% of proceeds from eight UK stadium shows in 2025 to MVT.
Sam Fender pledged £1 per ticket from his December UK arena shows to the cause, and Katy Perry, the first
major non-UK artist to get involved, made a similar commitment for her 2025 UK arena tour.
At the time of writing, the UK government’s stance is that it wants larger venues to work on a voluntary basis here in line with the Culture, Media & Sport Select Committee’s recommendations (all arising from its earlier report on the state of grassroots venues).
How this is adopted by the live industry as a whole remains to be seen, but if it falls short of the Culture, Media & Sport Select Committee’s expectations, it could shift from a voluntary levy to a compulsory one.
Inevitably it has been termed the “Taylor Swift tax” by the popular media in order to make a complex process
“Ministers have made clear that they want to see a voluntary levy come into effect as soon as possible for concerts in 2025, with clear communication to fans on the purpose of the levy and the benefits it will bring to the grassroots sector. The government will consider the implementation and effectiveness of a voluntary levy before determining whether further action is needed.”
UK Government
Enter Shikari at MVT’s Venues Day 2023
© Georgia Penny / MVT
more digestible for a non-industry audience. The hope is that this proves to be a pioneering “success tax” on the biggest acts to help ensure the health and future viability of the entire live venue ecosystem where acts can develop their craft and where some (but not all, as not all acts want, or will have, that kind of career) will become the arena and stadium acts of the future.
AUSTRALIA TO FOLLOW SUIT?
Around the world, different taxation issues were impacting the live business in characteristically different ways.
Down under, there are growing calls to echo what is happening in the UK with regard to bigger venues being “taxed” in order to help smaller venues. In October 2024, collection society APRA AMCOS called for the Australian government to put in place a live music tax system that would see money funnelled into helping grassroots venues. This followed the commissioning of a report into the state of the live music business in the country to assist the live music sector return to growth after the painful impact of venue closures during the pandemic.
APRA AMCOS CEO Dean Ormston said in a statement, “A tax offset to support the growth of live music would not only be a catalyst for the social and cultural development of live music but would also provide an injection of confidence across the tourism and hospitality economy.”
In April 2024, there was a breakthrough in this area in Tennessee, USA, when the state passed legislation that would establish a fund to support live music venues, specifically to help them recover from lockdown during the pandemic as well as protect them from sharply rising real estate and running costs.
TAX INCENTIVE IN ECUADOR
In Ecuador, the country is hoping to attract foreign touring artists to the country and build up its international standing in live music through the introduction of a 10% tax reduction applied via its new Tourism Law.
South American promoter CKConcerts told IQ in July 2024 that the revised regulations will enable it to take advantage of a lower tax withholding of 15%, compared to the previous 25%, when paying foreign artists who perform in Ecuador.
THAI TAX WAIVER
Thailand is moving along similar lines, with the government’s Board of Investment introducing a tax waiver for the organisers of shows in the country by major international acts. The goal is to draw more foreign acts to the country and increase its standing as a tourism destination.
Organisers who invest 100m baht (around £2.3m) in events and shows will be exempt from import duties on equipment and the visa processes for visitors involved in the shows will be streamlined. The hope is these tax breaks will make shows by foreign acts easier to organise and, as such, increase the number of them each year.
INDONESIA TAX UP?
The inverse of what is happening in Thailand is possibly going to happen in Indonesia. The Indonesian government is considering the introduction of an excise tax on concert tickets (as well as other goods such as fast-food and
smartphones). In July 2024, however, Sandiaga Uno, the country’s minister of tourism and creative economy, broke with the government line on this and suggested that such a scheme would undermine his goals of growing tourist numbers in Indonesia.
Nirwala Dwi Heriyanto, director of communication and guidance for customs service users, stated, however, that excise taxes extending beyond ethyl alcohol, alcoholic beverages, and tobacco and into new areas was still only at the consideration stage. “It has not been studied yet,” he said in a statement, later published by Tempo.co. “[We are open] to suggestions from academics and other stakeholders.”
All the moves across the world show how important live music is to a nation’s economy and its culture, but they also reveal just how precarious the live business is.
Especially for developing or secondary markets, tax breaks to attract major names to play in the country can have profound financial benefits; but equally, live operators in mature markets where taxes are increased argue it will damage the overall live sector. Cutting through the middle of this is a growing movement to have a small “success tax” applied only to the biggest acts and venues that will go to support the smallest venues.
The push-pull of tax laws will continue, and caught in the middle, the live business will call for changes that can grow the sector in aggregate rather than put any future growth at risk.
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“CANCEL” CULTURE ARTISTS VS SPONSORS
Those in the live industry are well attuned to the need for cancellation insurance for things like adverse weather conditions or travel disruption. But recent years have seen acts pull out of shows and festivals for ideological reasons and opposition to certain types of sponsors being involved. Lewis Lawrence, senior associate at Russells Solicitors, considers the legal implications for acts who see withdrawing from bills as their most powerful and potent form of protest.
The music industry descends on Brighton in the UK every May, bristling with excitement to see the next wave of emerging artists to perform at The Great Escape. However, in 2024, the festival felt markedly different; it was overshadowed by over 100 artists cancelling their performances due to the festival’s sponsorship arrangement with Barclays, which they claimed had financial ties with arms companies supplying weapons to Israel. The company denied this, saying in a statement: “We have been asked why we invest in nine defence companies supplying Israel, but this mistakes what we do. We trade in shares of listed companies in response to client instruction or demand and that may result in us holding shares. We are not making investments for Barclays, and Barclays is not a ‘shareholder’ or ‘investor’ in that sense in relation to these companies.”
A growing number of artists have pulled out of events in recent years over concerns about the political affiliations or the ethical values of event sponsors. Over
100 artists cancelled their performances at SXSW 2024 due to the US Army and a defence contractor being partners of the festival. Several well-known artists have also cancelled headline performances in recent years, citing similar reasons in their press statements.
In an increasingly polarised world, many performers feel compelled to distance themselves from brands whose values conflict with their own, to uphold their personal beliefs and/or protect their reputation with fans. This raises questions about how the issue should be dealt with when contracting for performances.
HOW THE ISSUE IS DEALT WITH CURRENTLY
In most performance contracts between artists and promoters, artists do not have a contractual right to pull out of a performance based on disagreements over the identity of sponsors. Therefore, in most cases, an artist cancelling a performance under such circumstances technically constitutes a breach of contract.
This potentially leaves the artist open to a claim by a promoter for their losses, which could be substantial. Those losses could include all of the promoter’s costs for the show (e.g. venue and equipment hire, staffing, marketing costs), unless the “limitation of liability” clause in the contract caps an artist’s liability in the circumstances.
Despite this, many artists have been able to cancel shows on this basis without facing significant legal repercussions, with disputes resolved behind closed doors. This is primarily because promoters are reluctant to sue artists.
Firstly, court proceedings in the UK (and most other jurisdictions) are public, meaning that a company’s public image needs to be a factor in deciding whether to initiate litigation – especially where the person or company being sued, such as an artist, has a substantial following. The damage to a promoter’s reputation in suing an artist could potentially outweigh any benefit of litigation.
Secondly, there is an interdependency between booking agents and promoters in the live music industry;
promoters are aware of the importance of preserving relationships with companies with whom they often have repeat business.
Thirdly, the concept of “safety in numbers” also plays a significant role here. The collective nature of cancellations by artists for similar reasons can make it difficult for promoters to take a hardline stance, and it can put pressure on organisers to comply with artists’ requests. For example, both of the respective promoters of The Great Escape and SXSW have confirmed that they will be changing sponsors for future events.
HOW THE ISSUE CAN BE HANDLED MOVING FORWARD
With the above context in mind, artists already have some de facto protections that deter promoters from litigation against them. However, the growing frequency of these cancellations poses a question as to whether or not the current industry approach is fit for purpose and whether or not new practical measures or contracting changes should be considered.
From a practical perspective, promoters would ideally disclose their sponsorship arrangements as soon as possible when engaging with artists; visibility of sponsorship affiliations at the outset could allow artists to make informed decisions about their participation. However, this does not quite align with how promoters engage sponsorships. For festivals, promoters secure sponsorship deals at various stages, meaning that sponsors may be engaged closer to the event date after artists have already signed performance contracts. Giving artists a contractual right to cancel performances each time a major sponsorship affiliation is agreed (after an artist has already confirmed their performances) would likely present an unacceptable degree of uncertainty and would be impractical if offered to all artists. Artists with sufficient bargaining power could potentially request a list of “banned” festival sponsors within their performance contracts, but this is perhaps unfeasible. The fluid nature of branding partnerships means such lists would require constant updates and monitoring. Unless the list was short (and exhaustive), it would likely be difficult to negotiate.
For artists performing on headline tours (i.e. not festivals), they do have some level of control over the identity of sponsors, given that their identity should be made subject to mutual agreement in performance contracts. However, venue owners often have their own wider sponsorship deals that may not be within the promoter’s control, making it difficult for promoters to provide comprehensive disclosures regarding all brand associations.
From a contractual perspective, one solution is for artist agents to negotiate a “reputation clause” into contracts, which allows for artists to cancel a performance if the identity of a sponsor could cause harm to the artist’s reputation due to the brand’s political affiliation or ethical stances. This is potentially justifiable from an artist’s perspective, given that some promoters seek to negotiate the same right to terminate a contract against artists (e.g. if an artist commits an act that could harm the promoter’s reputation).
However, a promoter’s concern would be that the
principle could be open to abuse. Artists may seek to cancel performances based on subjective interpretations of what constitutes a reputational risk. Given that promoters already bear a lot of risk in funding shows, they may find what could be construed as a wide cancellation right unacceptable. The exact wording of these clauses is important. They can be drafted to read more objectively, which mitigates some of the promoter’s risk.
Promoters could also seek to widen the scope of their ability to terminate their arrangements with sponsors; similar reputation clauses (as mentioned above) are worth considering including in sponsorship agreements. However, there would be practical and financial implications to terminating a sponsorship arrangement, especially if terminated close to an event date. Promoters may struggle to find alternative sponsorship funding, which may be essential for profitability.
CONCLUSION
In an unstable landscape for promoters, facing rising costs and unpredictable ticket-selling metrics, sponsorship income continues to be a key revenue stream for events. If contracts become too rigid or heavily focused on the identity of sponsors, they may reduce the flexibility needed for promoters to engage in sponsorship deals.
Equally, many artists prioritise their values and their reputation in an environment that is increasingly politically conscious and polarised and are willing to cancel shows (and face the potential repercussions) if an event sponsor’s values do not align with their own.
The interconnected and public nature of the live music industry has led to many disputes being resolved without substantial legal repercussions, and after the fact. However, with brand-related cancellations becoming more frequent, informal approaches to the issue may no longer suffice.
Promoters, agents, and artists may find it necessary to take proactive steps to adapt to these issues and protect themselves and their reputations – whether by revisiting contractual norms, artist booking procedures, or transparency of communication over brand partnerships.
As the industry adapts to these new challenges, it will be essential for all parties involved to strike a balance between the financial risk of promoters, artistic freedom, and reputation, and the realities of the ever-changing politicised public.
Lewis Lawrence is a senior associate at Russells Solicitors , one of the leading UK law firms in the entertainment industry, particularly in relation to music. Lewis is one of the most experienced lawyers in the UK live music industry, having advised and negotiated deals on behalf of global-selling artists and DJs, production companies, notable booking agencies/promoters, and various other industry stakeholders.
lewis.lawrence@russells.co.uk +44 (0)20 7439 8692 russells.co.uk
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THE ULTIMATE GUIDE TO TOURING KEY ASIAN MARKETS
When it comes to key touring destinations around the globe, Asia is home to a list of thriving territories that international artists are keen to explore. As the region continues to expand its live opportunities for touring artists, Kate Backhurst and Andy Corrigan of Viva La Visa share insights into the entry and visa requirements for some of the major touring territories throughout the region, as well as best practices for preparing tours with large parties.
At Viva La Visa, we’ve experienced increased interest from touring parties travelling to and performing across Asia in recent years, with the most popular countries including Thailand, Japan, China, India, and South Korea, who are encouraging visitors to enter for cultural and entertainment purposes.
As is the case with many visa applications for work purposes, approaching these territories comprises two steps: the local promoter collates necessary documents and permits and then a visa application is submitted.
With entry requirements differing between each territory, it’s essential to work with professionals to ensure that timelines, documents, and applications are in order –and at Viva La Visa, we pride ourselves on our extensive experience, advising every step of the way to help individuals of all nationalities apply for visas worldwide.
JAPAN
Performing artists and their essential personnel must obtain working visas for Japan. The application process involves two stages.
STAGE 1: The promoter in Japan must obtain Certificates of Eligibility (CoEs) from the Ministry of Justice and contact the local immigration office in Japan to make an application on the artist’s behalf. The documents include a completed personal data form, a copy of the passport ID page, a recent photograph, financial evidence, and a letter of explanation supporting the application. CoEs are free of charge and are usually issued 4–6 weeks after the application has been submitted.
STAGE 2: The next stage can be completed once the CoEs are in hand. At this point, the artist must apply for the physical visa at their local Japanese consulate. Application procedures differ per consulate, so it’s essential to check their websites for information on how to apply.
Most consulates require applicants to attend a document-submission appointment. The documents that must be submitted include the CoE, a valid passport, a completed application form, a recent photograph, and, if applicable, proof of residence/travel if applying in a
country that is not their country of birth.
Visas are usually issued 5–7 business days after the application has been submitted.
Passports will need to be collected from the consulate once the visa has been issued, and depending on the artist’s nationality, they may have to pay a visa fee –information on such fees can be found on the appropriate consulate’s website.
SINGAPORE
Entry requirements for Singapore depend on the nationality of the artist. An entry visa is only required for the following nationalities: Afghanistan, Algeria, Armenia, Azerbaijan, Bangladesh, Belarus, Democratic People’s Republic of Korea, Egypt, Georgia, India, Iran, Iraq, Jordan, Kazakhstan, Kosovo, Kyrgyzstan, Lebanon, Libya, Mali, Moldova, Morocco, Nigeria, Pakistan, People’s Republic of China (PRC), Russia, Saudi Arabia, Somalia, South Sudan, Sudan, Syria, Tajikistan, Tunisia, Turkmenistan, Ukraine, Uzbekistan, and Yemen.
If the artist requires an entry visa for Singapore, they must submit a completed application form, a copy of their passport, a copy of their ID card, a recent photograph, a letter of employment, and their highest educational certificate, via their local mission or consulate.
If the artist doesn’t require an entry visa into Singapore, they are also exempt from having to obtain a work pass if they will not be working there for more than 90 days in a calendar year. This is because performers and their essential support staff are exempt. They must obtain a valid Short-Term Visit Pass (STVP) upon arrival, which is issued by the Immigration & Checkpoints Authority (ICA) of Singapore and will allow them to stay for the duration of the activity. They must also notify the Ministry of Manpower (MOM) in Singapore of their intention to work in the exempted activity once they enter Singapore and before starting any activity.
All travellers entering Singapore must complete a SGAC declaration. This is a free declaration that requires basic personal information, travel information, and a health declaration. They take around ten minutes to complete and need to be completed online. The SGAC can be submitted in the three days prior to the date of arrival into Singapore.
Please note, your promoter in Singapore may ask for a show rundown, show lyrics (and translations if not in English), and multimedia material used during the show for Show Permit: Arts & Entertainment Licence purposes.
HONG KONG
Under the Immigration Facilitation Scheme for Visitors Participating in Short-term Activities in Designated Sectors scheme (STV), sector number 6: 'Creative Industries – Culture, Sports and Tourism Bureau' should cover performers and their essential personnel. Eligible visitors do not need to apply for an employment visa/entry permit to undertake the specified short-term activities in the HKSAR. The duration of participation in the specified short-term activities is up to 14 consecutive calendar days, counting from the day when the eligible visitor begins such activities, for each period of permitted stay as visitor (i.e. upon each arrival in the HKSAR). There is no cap on the number of designated short-term activities the eligible
visitor may participate in during that 14-day period.
MACAU
Entry requirements for Macau are dependent on nationality – check with your local consulate to see if the artist is exempt from an entry visa requirement.
Performers and their essential personnel will require a visa for work purposes and are required to submit an application at the Chinese Visa Application Centre. Applicants can also choose to submit applications directly to the Macao SAR Public Security Police Force. You should submit your artist’s valid passport, a copy of their passport ID page, a completed visa application form of the Macao SAR of the People’s Republic of China, two passport photos, a residence permit (if applicable) and photocopy, and a copy of an employment-approval document issued by the Macao authorities.
Applications generally take up to five working days to process but can take up to three weeks if the applications need to be forwarded to the Macao SAR Public Security Police Force for approval.
Applications cost US$30 for the standard service, and there is an additional service charge payable to the Chinese Visa Application Centre (depending on location of where you apply).
MALAYSIA
Performers and their essential personnel are required to obtain a work permit for Malaysia. Entry visas are dependent on nationality, and the promoter will send a visa letter to be able to apply for the visa at a Malaysian consulate. The promoter can arrange visas on arrival if needed. Please speak with your promoter in Malaysia about what is required, as it is their responsibility to make sure the artist has the necessary documentation.
To obtain the work permit, your promoter will need a colour copy of a valid passport, a recent photograph, executed contract/performance agreement, and a tax calculation number. The promoter will gather and submit the documentation to the relevant entity in Malaysia.
PHILIPPINES
Performers and their essential personnel are required to obtain a Special Working Permit (SWP) from the Bureau of Immigration, and the promoter in the Philippines should
Viva La Visa was created by tour veteran Andy Corrigan in 2009. As an experienced musician, he wanted to create an easily accessible service to assist tour managers and creative organisations navigate the minefield of visas, work permits, and travel documentation necessary to work abroad – a service that would ultimately ensure a successful outcome without the headache.
Although music is still central to the company today, Viva La Visa has organically grown over the years along with all creative industries. Although based in the UK, they can assist with processing visas and documents worldwide.
vivalavisa.com
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HOW TO CREATE A SUCCESSFUL CURRENCY STRATEGY FOR TOURS
Fluctuations in currency exchange rates can have farreaching consequences for international tours. Political instability, interest rates, inflation, and major governmental changes can all have a profound impact on the value of currency, the knock-on effect of which can affect the income of artists touring the world. With a well-thought-out currency strategy, touring companies are able to mitigate such risks posed to their income and budgets. And to make sure that a touring party’s interests are as protected as possible, it’s important to take advice from professionals.
Freddy Greenish and Simon Liddell are the founders and directors of Chorus TM. A leading global payments and expense management platform specialising in the touring industry, they are experts in managing foreign exchange. Here they share thoughts on the 2025 currency landscape, as well as tips on managing foreign exchange at every step of the tour planning and recouping process.
FOREIGN EXCHANGE
Foreign exchange (FX) is the world’s most traded investment market, and the currency exchange rate is the most important determinant of a country’s economic health. These rates move constantly as markets digest new information and react accordingly. The best way to measure a currency’s strength is over time, as economies become stronger and others weaken. For example, the British pound (GBP) has halved in value against the US dollar (USD) over the past 50 years.
There have been some big swings in currency exchange rates over the last few years. Brexit saw GBP lose 13% value, and Covid saw GBP lose 12% value against the USD in just two weeks. The result of this was that UK-based artists that had currency sitting in dollars were suddenly better off, but those needing to pay costs in USD saw their profit shrink or disappear. Such shifts in currency exchange rates have the potential to make or break a business, and with 30 years of experience in this industry, we have a unique insight into the foreign currency challenges faced by touring companies.
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